A couple months ago, a rather odd (viral) film emerged out of the Icelandic ashes of one Valtari* (XL; 2012), the latest soundtrack-friendly album by Sigur Ros — one of the seminal pre-millennial disestablishmentarian tilrauninas (Icelandic for “experimenters”) that helped define and shape the very landscape of what many music connoisseurs affectionately refer to as “post rock.”

Last Shop Standing (2012; Blue Hippo Media; directed by Pip Piper) is an intriguing film that documents the breakneck rise of independent UK record shops in the 1960s, 1970s, and the 1980s; their downfall in the 21st century’s aughts; and their curious resurgence in a paradoxically digital age.

This piece intends to comment on Ridley Scott’s Prometheus movie and its allusions to deities, creation and religion. Being that I come from a Christian background, however, much of this article (unavoidably) relies on Prometheus’ apparent Biblical allusions — as it appears to have been Ridley Scott’s intention to draw from such themes. Still, because I axiologically write from a Creationist perspective, it is in no ulterior way meant to challenge secularist interpretations of the film.

An hour before midnight last night, I stepped in to a 505 person capacity IMAX theater to watch the premiere of Ridley Scott’sPrometheus. Although I was an hour early, the theater was already about 60% full, and by the time the movie started, there were nary, if any seats open.

So as the lights dimmed and film rolled, it felt as if we had all just strapped in to a journey far away from this little rock called earth.

Typically, I don’t find myself wishing to foray into the worlds of film or television criticism. Though it is a craft that I admire from afar, my inexperience and general lack of knowledge on the subject usually stop me from ever making a comment myself. However, after watching (and subsequently re-watching) the new trailer for Baz Luhrmann‘s film adaptation of The Great Gatsby, I feel as if I have something to say. Here are my (brief) thoughts:

Ok, this has got to be one of the coolest things I’ve read about today. Apparently, mad, scheming scientist bent on creating powerful cyborgs (who will one day take over the world and enslave us all) have been busy again. Or, perhaps they are just well-meaning scientists hoping to cure blindness. Regardless, of who they are, this is still awesome.

What a perfect amount of whimsy in the trailer to Wes Anderson’s latest creation, Moonrise Kingdom. Not to say that whimsy is something to be lauded at by the gods.

Whimsy can be bad sometimes. Like, you wouldn’t want to find “whimsy” in a church service dedicated to worshiping the Almighty God. You wouldn’t want to find it beleaguered in a heated discussion during a committee meeting aimed at balancing a budget. Or what would be the point of whimsy during passionate lovemaking. Okay, maybe sometimes it might prove interesting.

As I’ve fervently opined heretofore, the American studio adaptation of Katsuhiro Otomo‘s cyberpunk anime classic, Akira, was a fantastically terrible idea, particularly in how the studio was set to dumb down its stirring and cerebral philosophical underpinnings; as well as attenuate its inherently violent aesthetic to better suit mainstream, PG-13-friendly audiences in the Occident.

Kim Jong-il’s death made me sentimental. This is what I actually said to someone when recently asked about my feelings on his passing. Yes, sometimes, I’m rather inarticulate. In such moments, my temporal lobe probably grasps at lingering plumes of an alien language learned first and long since forgotten. Also, my friends don’t associate with many Koreans, it would seem. So I get asked things like this from time to time.

Okay, I have admittedly been posting quite a lot lately, but there’s plenty to occupy mindspace at the moment. And speaking of space, it’s about time we get a new, epic sci-fi movie that takes us to the skies and beyond.